the ghazal: in arabic literature and in malay...

Hak Cipta Terpelihara © 1971 – Persatuan Sejarah Malaysia


The Ghazal

In Arabic Literature and in Malay Music

D.HO A UUUlLA l1

The Mal:IY Gho7.al has many interests for us. It has helped to pr~serve some of the best and most Iypical of OUf pantuns. It 11:15 also helped to preserve some of the most I),pica lmclodies of the o ld Malay folkso ngs. II a lso helps us to have the "recl" of Ihe bcucr side of the old tradi-tio nal Mull.}, way of life. apan from it s cruelties. its injustices and its lack of certain moral principles which we now assume 10 be fundamen tal in ;1 civilized society. The world depicted by Ihc pan-tuns :md melodies of the ghn7111 has gone: those who created the ghaZ



A t),pical Gha:al Group ill Johor Boh", 1m/a)'. This group is headed by En. Mokhtar hin Zalll Zom and En. Mohamcd Noor bin Mohd. Said. of Kampong Bah",.

cvcn tually deteriorated Into the extremc sentimental fashion that produee:d a host of "martyrs of love", The stories of Majnun and Laila ure well-known throughout the Middle Enst and the Malay Muslim ..... orld. It is with this form of Arabic ghaUlI thut the Ma lay ghal.ai may plnusibly be compared and contrasted in sentiment and spirit - not with the pre-Islamic ghaw l which fo rms part of the corpus of the uncient pre· Islamic Arabic poetry - that magnificient monumen t of barbaric splendour. Nor can the Mulay ghazaJ be, in any way, compa red with the "court ly" ghaUlI of the later "Golden Age" of the Abbasids on themes of chivalrous love, so totally alien to the Malay idea of love.

In the Arabic ghaUl I the "victim of love" wus the male lover. This is to be con trasted with the "victim" in the Malay ghuzal: the despised, the abandoned.

and the hopeless one, is the girl. In the case: of the Ambic ghazal. some modern critics identify this Laila- Majnun PQCtie abermtion as symbolic of the romantic nostalgia of the dctribaJised urban popu· lation of the new Arab cities in the cxpanding Arab Empire, It may not be too fa r·fetched to speculatc that thc Malay ghazal may ha\'c developed in circum· stances not altogether dissimilar, at the petty "courts" of Malay nobles at Riau-Lingga·Johore, in the 18th- 19th century. The growing in"ucnee: of " Pax Holland· iea" and "Pax Brittanica" produced a leisured class among the Malay nobles in this area. Life was becoming secu re, cosmopolitan and "urbanised", Musical instruments were avai lable from the com· commercial Eu ropean, Indian and Arab elemenlS of the growing population. The tradi tional Malay folksongs and panluns were standardised and disciplined by the new 'orchestra', Until quite recently, all

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A typical Glla:a/ Group ill lohor Bah", 1lH./ay. This Kroup is headed by En. Mokhtar hi" Zum Zm" lI"d En. Mohamcd Noor bill ."/olld. Said. of Kampong &hm.

c\'entually deteriomted Into the extreme sentimental fashion that produced a host of "martyrs of love". The stories of Majnun and Laila are well-known throughout thc Middle EDst and the M"lay Muslim world. It is with this form of Arabic ghaz.nl th"t the Malay gha1..a1 may plausibly be: compared and contrasted in sentiment and spirit - not with the pre-Islamic ghawl which forms pari of the corpus of the ancient pre-Islamic Arabic poetry - that magnificient monument of barbaric splendour. Nor can the Malny ghazal be, in any way. comp:1red with the "courtly" &haUlI of the later "Golden Age" of the Abbnsids on themes of chivalrous love, so totally alien to the Malay idea of love.

In the Arabic ghazal the "victim of love" was the male lover. This is to be conlr3sted with the "victim" in the Malay ghaznl: the despised, the abandoned,

and the hopeless one, is the girl. In the case of the Ambic ghaul. some modem critics identify this Lai1a - Majnun POttie aberration ns symbolic of the romantic nostalgia of the detribalised urban popu-lation of the new Amb cities in the expanding Arab Empire. It may not be too far-fetched to speculatc that thc Malay gh3zal may have developed in circum-stances not altogether dissimilar, at the petty "courts" of Malay nobles at Riau-lingga-lohore. in the 18th - 19th century. The growing inf1uence of "Pax Holland-iea" and "Pax Brittanica" produced a leisun:d class among the Malay nobla in Ihis area. Life was becoming secure, cosmopolitan and "urbanised", Musical instruments wen: a\'ailablc from the com-commercial European, Indian and Arab elements of the growing population. The traditional Malay folksongs and pantuns wen: standardised and disciplined by the ncw 'orchestm', Until quitc recently, all

-25-



.~: !r~: ..• : ., i:"' II" ~ IJ1 ~' I r~':

I' I 1'; , I ~·'

I . , , -

Gamblls.

26

GrllllbllS"

J.,"('("h{lpi

'6



A well kllo""'1/ Gha:al group. led by Pak Lomak. /Oken in 1948 ( lJaji M!lsa bill Ylisof -'Pak l...oma/.;' (l( Ihl' I'iullo. Eneh£' MoJ.hrar hill Zam Zum 01 'he harmoll;lIm ).

Tabla (Ilrums)

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A Ire/l k lloM'1/ Ghazal group, led by Pak Lomak. take" in J948 ( f1aji M!lsa bill Yuso! -'POK J.nmaK' (l/ II", piallo, Ellch(' MIJJ./llar hill Zum Zalll QI ,/u' harmonium ) ,

Tab/a f e/rums)

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rorms or music, except the sombre nobal and some curious relics of the ta rikal's "dikir" , were rro,",l1cd upon by the old people. The adoption or the name "ghaza l", an Arabic term, to denote this new form of sa lon music of Malay love songs would crente an impression of respectabili ty in the mind of the old people. (Even at prescnt, Angkasapu ri. not infrequently, play records or modem Arab 10"e songs immediately after a solemn redtal of the Koran, and this hIlS not been considered inappropriate).

In my opinion the music and lyrics of the ghaz.al arc cs.scntially Malay in cha-racter. Foreign musical instruments hlt"e been adopted and adapted to provide the necessary accompaniment and harmony. In the Mnlay ghu1.ul the dominnni musicul clements nrc melody and harmony, not rhythm. As has been indicated nbo"e, the Malay ghaUlI may have developed as a Malay musical expression in Ihe cou rse of the 19th cen tu ry originating probably in the Rillu-Lingga area reaching its prescnt form in early Singapore·Johore. The varieties of folk-songs and the Iyricil pantuns standllrdiscd by the ghal.l1l clearly point to its "southern" origin. The pantuns some of which have become classic, refer to names of animals, birds, plants. and flowers which form parts of the Riau·Johore·Malacca heritage. Geo· graphical names in the classic panluns and names of the songs are mainly "southern".

A few examples will suffice:

Pulau Pandall jauh ka·tengah Gunong Daik berchabang tiga Hanchor badan di·kandong tanah Budi baik di-kenang juga.

Pulnu Tinggi Terendak China Tampak dari Pasir Sibu Tuan pergi jangan-Iah lamll Tidak kuasa menanggong dndu.

Among the best known names of the ghazal songs arc the following: -

Laksamana Mati Di-Dunoh. Seri Siantan. Kuala Deli, Sambas, Embon Menitik. TimaRg Banjar. Tudong Saji, Damak. Seri Serawa!.:, Gunong Panti. Putri Lcdang Seri Dunang. Seri Mersing, Sili Puyong, Mas Metah,

It is interesting to note the number of "Kualas", "Hulus" and "Gunongs" men· tioned in genuine Malay folksongs. Are they deep· rooted memories of the sellts of ancient Hinduised gods and animistic spi rits?

The crucl lack of precise or reliable information on important aspects of the social life of the ordinary people in the Malay histories is well· known. Even the Sejarah Mc!ayu anecdotal as it is. tells us very little lIbout education. amusements. and harmless pursuits of the ordinary people. What sort of musical amusements did they indulge in at the Malacca and other Malay courts in the 15th. 16th. 17th and 18th centuries? Some of the best pallluns in the Sejarah Melayu arc said to have been sung by people (di·nyanyikan orang). What sort of songs? What aTC their IllImes?

The Malay section of the Malayo-Ind oncsi:1Il world was the first to ha"e been converted to Islam and to de,'clop centres of continuous cosmopolitan life. Was this partl y responsible for the lack of development in indigenous musical tradition as compared to the distineti"e Javanese and lJaJinese musical traditi on? There is a small clement of "quarter-tonc" in the best glmzal songs when sung by an experienced singer. There is 1I great deal of quarter· tone in Indonesian indigenous music. Is the ghawl quarter-tone an indication of a tendency to re"ert to indigenous type ? or, is it a deliberate borrowing from the more sophistica ted Indian or Arabic musical featu re?

One of the rcasons for the slow deve-lopment of Malay music was perhaps the lack of sophisticated instruments once the indigenous instruments wcre aband· oned. and the Indian stri ng and wood-wind dedicated to the royal nobat. Another was the absence of sui table patronagc. In the course of the 18th and 19th centuries conditions of life were changing rapidly. Centres of security and leisure and a new class of Malay noblemen came into being. Perhaps by the early 19th century at Riau or Singa-pore there was a sufficient ly organised musically minded Malays under the pat· ronage of some nobles who were able to

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forms of music. eAcept the sombre nob:u and some curious relics of the tarikat's "dikir". were frowned upon by the old people. The adoption of the name "ghazal", an Arabic term. to denote this new form of sa lon music of Malay 10Ye songs wou ld create an impression of respectability in the mind of the old people. (Even at prescnt, Angkasapuri. not infrequently, play records of modern Arab lo\'e songs immediately aOer a solemn recital of the Koran. and this hus not been considered inappropriate).

In my opinion the music and lyrics of the ghaul arc essentially Malay in cha-racter. Foreign musical instruments ha\'e been adopted and adapted to provide the necessary accompaniment and hurmony. In the Muloy gha7al the dominant muskal elements arc melody and harmony, not rhythm. As has been indicated ubo ... c, the Malay ghaUiI mu)' have deyeloped as a Maluy musical expression in the course of the 19th cenlUry originating probably in the Riau-Lingga area rea(:hing Its present form in early Singapore-Johore. The Yarieties of folk-songs and the lyric .. 1 pantuns stundu rdised by the ghaul clearly point to Its "southern" origin. The pantuns some of which ha ve become classic, refer to names of animals, birds, pl:mts, and flowers which form parts of the Riau·Johore·Malacca heritage. Geo-graphicnl names in the clnssic pantuRs and names of the songs are mainly "southern".

A few examples will suffice:

PUiJ~n~~;d~~ita~:~~~::hliga Hanchor bndan di-kundong tanah Dudi baik di-kenang juga.

Pulnu Tinggi Terendak Chinn Tampak dari Pasir Sibu Tuao pergi jnngan-Iah lama Tidak kuasn menanggong dndu.

Among the best known names of the ghaz.al songs arc the following: -

Laksamana Mati Di-Bunoh. Seri Siunlan. Kuala Deli. Sumbas, Embon Menitik. Timang Ranjar. Tudong Saji, Damak. Seri Serawnk. Gunong Panli. Putri Ledang Seri Banang, Seri Mersing. Siti Puyong, Mas Merah.

It is interesting to note the number of "Kualas", "Hulus" and "Gunongs" men-tioned in genuine Malay folksongs. Are they deep-rooted memories of the seats of ancient Hinduised gods and animistic spi rits?

The crud lack of precise or rdiablc information on important aspccts of the social life of the ordinary people in the Malay histories is well-known. Eyen the Sejarnh Melayu anecdotal as it is. tells us ...ery lillic about education . amusements . .. nd harmless pursuits of the ordinary people. What sort of musical amusements did they indu lge in :11 the Malacca and other Malay courts in the 15th . 16th, 17th and 18th centuries ? Some of the best panluns in the Sejarah Mdayu are said to haye been sung by people (di-nyanyikun orang). What sort of songs? What arc their names?

The Malay section of the Malayo-Ind onesian \.\oorld was the first to ha\'e been co",erted 10 Islam and to dcvelop centres of continuous cosmopolitan life. Was thi s partly responSible for the lack of de ... elopment in IOdigenous musical tradition as co mpared to the distincti~e JaYanese and Blliinese muskal tradition? There is a small element of "quarter-tone" in Ihe best ghallli songs when su ng by an experienced singer. There is a great deal of quarter·tone in Indonesian indigenous music. Is the ghaUlI quarter-tone an indication of a tendency to revert to indigenous type? or, is it a deliberate borrowing from the more sophisticated Indian or Arabic musical feature?

One of the reasons for the slow deye-lopment of Malay music was perhaps the lack of sophisticated illstruments on(.."( the indigenous instruments were aband-oned. and the Indian stri ng and wood-wind dedicated to the royal nobat. Another was the absence of suitable patronage. In the course of the 18th and 19th centuries condilions of life were changing rapidly. Centres of security and leisu re and a new class of Malay noblemen came into being. Perhaps by the early 19th century lit Riau or Singa-pore there wus a sufficient ly organised music:.llly minded Malays under the pat-ronage of some nobles who were able to

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form musical parties. Perhaps the Malay followers of the Temenggong centred at Telok Bclanga with thei r leisure and contact with Indians and Arabs, in an atmosphere of a more tolerant society. were able to develop and organise the gha1.n1 in their presen t form. They were a new gcncTlIlion of Malays born out of the conteltt of the traditional Malay society. T he instinct to collect. preserve and value the Malay folk melodies with the calssical Malay pantuns as lyrics may have been symbolic of their condition as "urbanised", di-kampongised. Malays nostaiigically yeilrning for the lost glory of the good old dilYs. It may be noted in passing that the panluns in the gha1.a1 me not always amatory: the element of panegyric is sometimes more prominent than the love clement which tends to indic.1te that the Malay ghaml was deve-loped or founded at "Court" under noble patronage.

In 1866 the "court" of Temenggong Abu Dakar moved from Telok Dclanga to l ahore nahru and the work of organi-sing modern l ohore began in earnest -carried out by dcvoted and dedicated chiefs and followers of the Temenggong. This period of modern l ahore covered by the reign of the Temenggong-Ialer, Maharaja and finally Suitun Abu nakar - was the most origina lly creative period in the history of modern Malaya. It produced men of talent and ability in almost e\'cry sphere of civilized activities. in the process of the sln te-building. Even some close rdativcs of Abu nakar-members of the Roya l Family - were men of cxtraordinary character, quite different from the common run of Mnlay princes. There was no question of demo-cracy or socia l justice involved. nut there was a nice balancc of loyu lty and respect on the part of the ra'ayat on the one hand, and a sense of direct moral respon-sibility and even a sense of noblesse oblige present in the top stratum of the ruling class on the other. I think it was during this creative period in the development of modem l a hore that the Malay ghaul assumed its final form. The small group of men, royal nobles. chiefs and dedicated commoners were free from the effect of that stifting atmosphere pre\'ailing at the tradi tional Malay "court". They were

free 10 indulge in le$itimate and harmless pursuits ou tside their official acuvities.

It is interesting to recall that one of the major architects of modern l ahore was the Data nentara Luar (Mohamed SaUeh bin Pera ng). He was a man of great versatility. Among his "hobbies" was music of 1111 sorts (including Chinese music). He brought Malay music, in-cluding the ghazal, to the areas in l ahore which he was commanded to "open up": Muar. natu Pabat, and Endau. Most members of his family and some members of the other families of the old Datos in l ahore. have retained an interest in music especially the gha1.a1. His grandson, the late Col. Musa of the old l ahore Military Forces was one of the finest exponents of the gha1.a1.

The ghazal music is essentially Malay in spirit and form, despite some traoes of foreign inOuence, mainly Indian, not Arabic. Some of the basic instruments are Indian-the 13bla and the harmo-monium. The ghaz.al is not meant to be performed in the open like the ronggeng. II is not intended for mass enjoyment . The ideal condition should be II smnll select group of listeners wi th a noble patron present, to ensu re discipline and a good standard of performance.

I once attended a ghazal performance in l ohore Bahru, before the Second World War. The conditions were ideal: the "patron" was a close relative of the Sultan, middle-aged, not undistinguished in appea rance and disposition, dignified and discreet. It was a small party: the musicians were seasoned. the singers. two men and two young women, were all well-known in the ghazal circle. The venue was a somewhat isolated house buill on stakes at the old Stulang Laul seaside, l ohore Bahru. The night was clear and some of us young men prefe rred to remain outside in the moonlight where the music and songs sounded more dis-tantly romanticl The noble patron had known my father and grandfather. and laler in the evening. asked me to sit inside near him. The si nging went on till past midnight. The vocal rendering by the girls of the standard repertoire of the ghaz.al songs was superb. The pantuns

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form musical parties. Perhaps the Malay followers of the Temenggong centred at Tclok Belanga \\.;th their leisure and contact with Indians and Arabs, in an atmosphere of a more tolemnt socielY, were able to de\'elop and orgnnisc the gh:l7.1l1 in their pr~nt form. They were a new gencrtllion of Malays born oul of the conteltt of the traditional Malay society. The instinct to collcct. pr~rve and value the Malay folk melodies wilh the calssical Malay panlUns 35 lyrics may have been symbolic of their condition as ··u rbanised". di-kampongised. Malays nostuligically yearning for the lost glory of Ihe good old days. It may be noted in passing that Ihe pantuns in the ghazal me not always amatory: the element of panegyric is sometimes more prominent than the love element which tends to indic.1 te that the Malay ghal.ai was deve-loped or founded at "Court" under noble patronage.

In 1866 the "court" of Temenggong Abu Dakar moved from Tclok Bclanga to Johore Dahru and the work of organi-sing modem Johore began in earnest-carried out by devoted lind dedicated chiefs and followers of the Temenggong. This period of modern Johore covered by the rcign of the Temenggong-Iater. Mahamj:l and finally Sultan Abu Dakar - was the most originally creative period in the history of modern Malaya. It produced men of talent and ability in almost every sphere of civilized actiVities. in the process of Ihe sta te-building. Even some close relativcs of Abu Dakar-memhc:rs of the Royal Family - were men of extraordinary charneter. quite different from Ihe common run of Malay princes. There was no question of demo-cruey or social justice invoh'ed. Dut there was a nice balance of loyalty and respect on the part of the m'ayat on the one hand. and a sense of direct moral respon-sibility and even a sense of nob/~ss~ oblige present in the top slratum of the ruling class on the other. I think it was during this creative period in the development of modem Jobore that the Molay gbaul assumed its final form. The small group of men, royal nobles. chiefs and dedicated commoners were free from tbe effect of that stifling atmosphere pre\'ailing at the traditional Malay "court". They were

rree to indulge in le$itimate and harmless pursuits out.side theIr official activities.

It is interesting to rccallthat one of the major architects of modern Johore was Ihe Dato Oentara Luar (Mohamed Snitch bin Perang). He was a man of great versatility. Among his "hobbies" was music of all sorts (including Chinese music). He brought Malay music. in-cluding the ghazal, to the areas in Johore which he waS commanded to "open up": Muar, Datu Pahat. and Endau. Most members of his family and some membe:f5 of Ihe other families of the old Datos in Johore. have retained nn interest in musie es~ially the ghazal. His grandson. the late Col. Musn oflhe old Johore Military Forces was one of the IInest eAponenls of the ghaza1.

The ghazal music is essentially Malay in spirit and form. despite some traces or foreign inlluence. mainly Indian . not Arabic. Some of the basic instruments arc Indian -Ihe tabla and the harmo-monium. The ghazal is not mennt to be: performed in the open like the rouggeng. It is nOt intended for mass enjoyment, The ideal condi tion should be a small select group of listeners with a noble patron present. to ensure discipline and " good standard of performance.

I once attended a ghazal performance in Johore Bahru, be:fore the Second World War. The conditions were ideal: the "patron" was a close relati\·e of the Sultan, middle-aged, not undistinguished in appearance and disposition, dignified and discreet. It was II. small party: the musicians were seasoned, the singers, two men and two young women. were all well-known in the ghazal circle. The venue was a somewhat isolated house buill on stakes at the old Stulang Laut seaside. Johore BD.hru. The night WIlS clear and some of us young men preferred to remain outside in the moonlight where the music and songs sounded more dis-tantly romanticl The noble patron had known my father and grnndfather. and later in the evening. asked me to sit inside near him. The si nging went on till past midnight. The vocal rendering by the girls of the standard repertoire of the ghazal songs was superb. The pantufU

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were mainly of the classical type but there ~ere some which I had not heard and which "ere elliptical in the elllreme. The

r~~;~i~fetr~e~~~v~~:·h~;al~~~~~h~!~t~~e~f them mingled wilh complaints of their sepOlr.t liolis. Sometimes the songs and puntuns were luely and say. and one of Ihe girl-singers had a wonderful eonlrol of her voice. In some dillicuit turns of 01 famous song. her vOice sustained 115 pure haunling melody. devoid of wordr., for some good while. then. all of II sudden. she beg;:1Il 10 frolic and her \'oice merged with the quick rises and falls of the har-moni um's aceompanimenl. The male sinl;\ers' replies to the IIppcllls lll~d COIll-plUlnlS of luve were always dignified. playfully tantalizing. lind non-committOl I - never vulgll r. The game was quite simple. The girls were relllly mnlmg love to the noble pntron present - II person quite beyond their hupe, The male ~ingers reully replied. in Ihelr pantulIs, on behalf of Ihe "noble lover". As the night wOl'e 011. the ~ir l s' !>ingmg became more lllnguid, and their lo\'e more appealmg. and their desperate state of hopelessness appeared to me almost relll. Llle good IIrtistes, they tended to lose themschcs in their roles. I noticed th:1I thc noble Tcnglu was paying morc and morc attention to $a'enall - that was the name of the sla r-singer. She appeared to lIle almost genuine in her desperate lo\'e as she S!lng pantun aner panlun, perfectly filled to the mUSIc of some of the 01051 f"muus ghazal songs. She had an endless stod of pantuns and she was an excellent slIlge r, At limes. her singing anti i>'lntuns were greatly tlaring. anti then. she would be less "presuming" or more obscu re in her allusions to her noble "lover".

Alas! Mllhmood. the senior male singer. signalled the end of Ihe session as

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someone respectfully mumbled "Suboh!" (I he dawn!) His last sung was "Kuala Deli" and his last pant un. after Ihe cOIl\'entional opening one. nln Ihus:-

Anak enggllng terbang ka·hulu ""Iali di-tembak anak Perenggi

Nyawa abang tinggal dallulu Ada omor berjumpa lagi.

Poor Sa'enOlh was Ihe last singer, She had now been broughl back 10 earlh b)' the last IWO pantuns. She Iwd reco\'cred from her dream of love. There was nothing left for her but 10 invoke the ultimate privilege of a person of her humble stalus. She sang her Inst song in deliberate. slow. tempo and it see med the Instruments were sharing her innermosl agony. She deliberately skipped Ihe ('onventional opening panlLln of "Kuala Deli" (Tempal jaloh Irlgi di·kenang. Ini-kao pulal lempat bermain.) She sang slow[y. sustaming her tones of heart· rending humility. The laSI lines of her laSI pant un were:

Tuan Umpama pollon y:lIlg rendang Tiada·lah lain tempat bernaung.

Then she stopped suddenly with the sudden d)ing fall of the labia.

The noble Tengku sat up erect in his chUl r. and there was such an expression of lender kindliness on his face as was rarely seen among his forebears.

As I sat writing these last rew lincs. recollecting my emolions in tranquilit),. I thought of some Arab princes of the olden days. An Uma),},ad prince (except perhaps Umar bin Abdul Aziz) would have exclained on such an occnsion: "Let us be loved like this or in silence!"

were mainly of the classical type but there \o\ere some which I had not heard and "",hich "cre elliptical in Ihe e,ltIreme. The

~~~I~~et~e~~~\~~t.h~l;alr~~~h~~~:~e~r them mingled "lIh compl:unu of their scpar.lllOns. Somellmes the songs and panluns "ere hHly and gay. and one of the glrl-slOgers had a wonderful conlrol of her "0Ice:. In some dlnicuh turns or II ramou!' song. her "Olce: sustall1ed 115 pure haunting melody. devoid of " ords. ror somc good "hile. then. all or a sudden. she began 10 frolic and her \'Olce merged \o\ilh the qUick flSCS and ralls or the har· monium's occompanlOu:nt. The male singers' feplll:s 10 Ihe appe:lis lind com-pluints or love "ere always dlgl1llicd. playfully lanlall1ll1g. lind non·commlllal - never vulgnf. The gllll1C was quile simple, The girls "efe relllly nwJ..lOg 100c to Ihe noble plliron present - a person quite beyond their hope. The lI1ale )1I1gef!~ fenlly replied. 10 their panlulls. on bchllir or the "noble lover". As the night "orc on. the girls' ~lIIglllg becume more languid. and their lo\e more appealing. and their desperate stOic of hopelessncss appeared to me almost real. Like good "rllsles. they tended to lolOC Ihemsches 10 Iheir roles. I nolleed Ih:al Ihe noble TcngJ..u was paYlIIg more and mure ullentlon 10 Sa'enah - that "as the name or Ihe star-singer. She appeared 10 me almost genume 10 her desperate lo\e as she sang pantun

:~~~:~~~hr~~~t~~~I~~ ;ha~f s~~~~ She had an endlcu slod or p:antuns and she was on excellenl slOger. AI times. her singing and panluns \o\ere greatly daring. and Ihen. she would he less "presuming" or more obscure in her ullusions to her noble ··Iover".

Alas! Muhlllood. Ihe senior male singer. signalled the end or Ihe session as

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someone respc:ctrully mumbled "Suboh!" (the dawn!J His last song was "Ku:ala lkh" li nd his last pant un. after the com'emiotl31 opening one. rnn \hus:-

Anak enggnng lerbang ka-hulu ~·lati dHembak anak Perenggi

N)awa abang tinggal dahulu Ada omor herjumpa lagi.

Poor S .. ·enah "as the last smger. She had no .... bttn broughl bacJ.. to e:arlh by the lasl IWO panlum. She h .. d reCO\'ered rrom her dream of 100e. There was nothing left for her but to invoke the ultimate privilege or a person or her humble Slat us. She sling her las! song in deliberale. 510\0\, tempo nnd il see med the mstrurnents were shnring her innermost agony, She deliberutely skipped the l'ollvenllOnaJ opening panlLln or "Kunin Deli" (Tempol jalOh lagl di·J..enang. In;· kan pulaJ.. tempal hermain,) She rong slo\o\!). suslalnlng her tone~ of heart-rending humllll). The hlst lines or her !:aSI p:lIltun "ere:

Tuan Umpama pohon yang rendang Tiada-Iah lain tempat hern:aung.

Then she stopped suddenly ""'llh Ihe sudden d)ing rail of Ihe tabla.

The noble TengJ..u sal up erecl in his chair. and there ":as such an expression or lender J..indliness on his r .. ce liS WIIS rarely seen umong hiS forebears.

As I sat "ritlng the)C lu~1 rew hnes, recollecling my emotiolls ill tranqui lity, I thought or some Arab princes or Ihe olden days. An UlIlu)')'lId prince (excepi perhaps Umar bin Abdu l Azi1J ..... ould have exclained on such un occasion: "Let us be loved like this or in silence!"



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the ghazal: in arabic literature and in malay...

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